Word: poetics
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Dates: during 1960-1969
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...works of twelve different artists on the cover. This week we introduce another: Iowa-born, Connecticut-dwelling Robert Templeton. A painter who is not offended if a viewer remarks that his realism has a pop quality, Templeton divided the picture of Los Angeles into separate images: the freeway ("a poetic thing to see"), crime in the streets (Mrs. Templeton posed for that panel), Watts, the ever-present signs, and the area's cultural emergence as represented by the Los Angeles County Art Museum. It was particularly appealing for Templeton because he especially likes to deal with the theme...
That is a haiku, a 500-year-old Japanese poetic form whose first and last lines always have five syllables, its middle line seven. Today, grade school teachers in the U.S. are turning to it as a new tool to teach English composition. Asked to write their own haiku (pronounced high-koo), children find that its precise rules and free content pose delightful puzzles, with solutions limited only by the flexibility of their vocabulary and the fetters on their fancy...
...British muddle through until they fizzle out. Trust, by Cynthia Ozick, is a massive (568 pages) and almost continuously impressive attempt to reconstruct the near-religious experience of Marxism cum Utopianism that gripped American Jewry in the '30s. Moss on the North Side, by Sylvia Wilkinson, is a poetic apperception of childhood elaborated by one of the most gifted women writers to emerge in the South since Carson McCullers...
...until they fizzle out. Trust, by Cynthia Ozick, is a massive (568 pages) and almost continuously impressive attempt to reconstruct the near-religious experience of Marxism cum Utopianism that gripped American Jewry in the depressed and troubled '30s. Moss on the North Side, by Sylvia Wilkinson, is a poetic apperception of childhood elaborated by one of the most gifted women writers to emerge in the South since Carson McCullers...
...language as "poetry." So far little that he has produced can stand by itself in print (except for intoned pieces like Opus 2's "Hard Rain), but needs his performance to make clear the stresses and quantities he intends. Only with these heard can one get a "poetic" sense of language opening through his songs, the exhilarating view of sound and sense stationed in strange surroundings. This is a trivial problem. Dylan's imagination can create new contexts for given words; all he really Jacks is a system of notation. We can compensate here with hyphens, dashes, and capitals...